For “High Noon”, Blondie once again open the door to a broad mix of sounds, ideas and collaborators. Rock & roll and punk sit alongside dance music and Latin rhythms, with contributions from Johnny Marr, Glen Matlock, Zach Condon of Beirut, Jess Wolfe and Holly Laessig of Lucius and others woven throughout the album.

“High Noon” also marks the final recording of Blondie co-founding drummer Clem Burke. At the outset of recording, the band had no way of knowing the significance the album would later carry. Following Burke’s passing, the record has taken on additional meaning for the band and serves as a document of one of rock music’s longest-running creative partnerships.

“This album is classic Blondie – an amalgamation of all our different influences and eras into something new,” says Debbie Harry. “This music feels grounded in the present, shaped by who we are and how we’re living now.”

“It’s been a long, strange ride, and somehow here we are with another Blondie album,” says Chris Stein. “I’m not sure what the fuck I’m supposed to say at this point, except that we’re incredibly grateful for all your support over the years.”

Leading “High Noon” is the driving “Spectral Eyes”, written by Johnny Marr, who also contributes guitar to the song. The song pairs crystalline riffs with a steady beat and a bright, hypnotic chorus, setting the tone for the album to follow. Energetic, enigmatic and unmistakably Blondie, ‘Spectral Eyes’ finds the band doing what they have always done best: stretching their sound without losing sight of what makes it their own.

Sessions for “High Noon” began in 2022, with the band recording in New York City alongside producer John Congleton [St. Vincent, The War On Drugs, The Killers], who previously worked with Blondie on their critically acclaimed 2017 album Pollinator. Much of the material was tracked together in the same room, reflecting the collaborative approach that has long defined the band. David Wrench [Florence and the Machine, Jamie XX, Frank Ocean, Bon Iver] later joined for additional production and mixing.

The visual world of “High Noon” was conceived by artist and director Rob Roth, who has collaborated creatively with Blondie for more than 25 years, dating back to 1999’s No Exit. For “High Noon”, Roth mixes cinematic imagery, analog textures and contemporary references into a visual language that draws on Blondie’s history without being bound by it. That world will continue to unfold through the album’s visuals, including an upcoming short film created and directed by Roth, featuring music from “High Noon”.

“I wanted to create something unexpected, but something that still feels quintessentially Blondie,” says Roth. “”High Noon” exists in its own world – somewhere between the past, present and future. There are references to different eras and the band’s history, all mixed together to create something that feels both familiar and new.”

That same interplay between past and present also runs through the music itself. Highlights include ‘Heartbreak Kid’, written by Chris Stein with Johnny Thunders in mind, looks back toward the band’s downtown New York roots, while ‘Sleepwalking’, written by Glen Matlock, brings a gritty punk energy. ‘Man Who Had No Face’, written by Stein and Harry, pairs pulsating keys and electric guitar with one of Harry’s most vivid lyrics on the record. The band also revisits ‘Little Metal Drummer’ originally recorded by Blondie co-founding keyboardist Jimmy Destri for his solo debut ‘Heart On A Wall’, with both Harry and Clem Burke having performed on the original recording.

More than fifty years after emerging from New York’s downtown music scene, Blondie continue to reach new generations of artists and audiences, and their influence extends beyond music into fashion, film, art and popular culture. “High Noon” shows why: the band remains as curious and open to new ideas and sounds as they have been from the beginning.

“High Noon” will be available on black vinyl and CD, with a limited-edition crystal clear ecovinyl available at select retailers. The official Blondie stores will also offer an exclusive limited-edition red vinyl and cassette, along with merchandise bundles.

“HIGH NOON” TRACKLISTING:

1. Spectral Eyes
2. Heartbreak Kid
3. Come Back Home
4. Tambo Tambo
5. Man Who Had No Face
6. The End
7. Little Metal Drummer
8. Sleepwalking
9. Whistle Into The Wind
10. Antifreeze
11. East of Eden
12. Bad Underwear
13. Ah, Sunflower, Weary of Time

photo credit: Maddy Rotman

About Blondie

Blondie has occupied a singular place in music and popular culture for more than five decades, and remains undeniably one of the most trailblazing, influential and culturally enduring bands of our time. Emerging from New York City’s downtown scene in the 1970s, the band moved freely between punk, new wave, disco, pop and hip-hop, to become a true global icon whose influence has both shaped and continues to inform the cultural conversation across generations, in the worlds of music, fashion, art and beyond. From an irreverent Lower East Side punk outfit to bonafide international ambassadors of New York cool. Their chart-topping success, fearless spirit and rare longevity led to an induction into the Rock‘N’Roll Hall of Fame in 2006, more than 40 million albums sold worldwide, two UK #1 albums, six UK #1 singles, and more. As Blondie stride into the next chapter with High Noon, they once again reaffirm their status as one of the world’s most enduring, bold, and influential bands of all-time.

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Through these diverse characters, the former DELAIN vocalist paints a fragmented picture of humanity, exploring the different ways we respond to collapse, from denial, anger and faith to withdrawal, hope and revenge, along with everything in between. All these perspectives come together in a sonic multiverse that refuses to be confined to a single genre.

The album’s release coincides with Charlotte Wessels’s first-ever European headlining tour, which kicks off on February 4, 2027, in Sint-Niklaas, Belgium, just one day before the album arrives.

Charlotte comments: “I didn’t set out to write a concept record from the start, but somewhere along the way, I began to realize that all the latest songs I’d written were connected. Each of them seemed to embody a different response to the world we’re living in: Denial, complicity, withdrawal, blind obedience, selective empathy, but also hope and connection, and so on. I started to recognize these recurring themes and archetypes, and eventually realized they were all part of a much bigger story. I found myself wanting to follow this thread as far as it would take me, exploring the concept through the music first, and eventually through the artwork and imagery, too. That discovery became the foundation for ‘Mute Swan Empire’.”

She adds: “What fascinates me is how easy it is to recognize these responses in others, and how much harder it can be to recognize them in ourselves. I didn’t want an album that simply points fingers or offers easy answers. I wanted to explore the contradictions, the uncomfortable grey areas, and the possibility that we can change.”

“Musically, the same freedom to follow wherever a song leads has resulted in a record that moves between some of the heaviest music we’ve made and moments of vulnerability. Despite how varied the record is, I think we’ve never sounded more together like a band. Everyone brings something distinct to the music, and I’m really proud of what happens when all those elements come together.”

The title “Mute Swan Empire” draws inspiration from the myth of the swan song, the belief that a swan sings its most beautiful song just before it dies. Throughout history, individuals, cultures, and civilizations have had their own swan songs — final moments of beauty, meaning, or grandeur before fading away. With “Mute Swan Empire”, Wessels poses a question: “What if we don’t get one? What if we’ve pushed ourselves so close to ecological and social collapse that we’ve lost, or no longer deserve, that final act of grace? Will the swan remain silent?”

Musically, the album continues to explore the space between heavy music and alternative influences, combining intricate arrangements, expansive atmospheres, powerful vocal performances and the band at its very best. The musicians Charlotte Wessels originally brought together for THE OBSESSION have since adopted the name themselves, evolving into a tight-knit live band through years of touring. This shared experience, along with a more intensive production process with Joost Van Den Broek at Sandlane Studios and Timo Somers contributing to the arrangements at the top of his game, allows the band’s collective identity to take centre stage. The result is a more cohesive sound that retains its dynamic range, shifting between powerful, hard-hitting passages and moments of striking intimacy.

“Mute Swan Empire” track listing:

01. Incubus
02. In Leta Via
03. Tempest
04. After Us The Flood
05. Good Girl (If You’re Ready To Die)
06. The Hermit Song
07. Emergency Kit
08. One Day They Will Come For You
09. Weeping Madonna
10. This Is Not An Opinion
11. The Villain
12. Let The Music Decide
13. Incantations
14. Starling
15. Bells Of Lynn

“Mute Swan Empire” draws inspiration not only from the current state of the world but also from the ways people respond to it and how deeply rooted some of these reactions can become. Charlotte also found inspiration in books, poetry, film and literature. The album features writings by two medieval mystics, Hildegard von Bingen on “In Leta Via” and Julian of Norwich on “The Hermit Song”, alongside text from the Dutch “Denk Vooruit” campaign incorporated into “Emergency Kit”.

“One Day They Will Come For You” is inspired by Martin Niemöller’s post-war confessional prose piece “First They Came For The Communists”, while “Bells Of Lynn” was inspired by and incorporates fragments of the poem of the same name by Henry Wadsworth Longfellow.

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For the album’s first single, “The Fifth Force Of Nature”, Graham Bonnet teams up with none other than IRON MAIDEN frontman Bruce Dickinson.

Graham comments: “Having Bruce Dickinson perform a duet with us on this album was a thrill; he is an incredible singer and our voices blend together so beautifully. Truly an experience of a lifetime!”

Adds Bruce: “It was an honor to sing this terrific song with Graham, truly a vocal legend!”

The official music video for “The Fifth Force Of Nature” was filmed in February 2026 under the direction of Leo Liberti and is available to watch below.

Few voices in rock are as distinctive as Graham Bonnet’s. With a career spanning more than five decades, the legendary singer has contributed to some of hard rock’s most iconic records, including RAINBOW’s “Down To Earth”, MICHAEL SCHENKER GROUP’s “Assault Attack”, the early releases of his band ALCATRAZZ, and numerous solo albums.
With “Circuit Breaker”, the GRAHAM BONNET BAND now presents a remarkable new studio album that pays tribute to his extraordinary musical legacy while bringing his unmistakable voice and hard rock spirit firmly into the present.

Graham states: “I think people will be surprised by the variety of the new album. There are lots of hidden gems in here and something for everyone.”

Driven by Bonnet’s unmistakable vocals and a strong collection of melodic, hard-hitting rock songs, “Circuit Breaker” finds the legendary singer sounding as distinctive and defiant as ever. He is joined by an impressive lineup featuring Beth-Ami Heavenstone on bass, Conrado Pesinato on guitar, Shane Gaalaas on drums, and Alessandro Bertoni on keyboards.

Executive produced by Beth-Ami Heavenstone and produced by Conrado Pesinato, the album highlights the band’s chemistry and creative direction, offering a powerful set of songs that celebrates Bonnet’s remarkable legacy while embracing the future. Further enhancing the record is an outstanding lineup of special guest musicians.

Bruce Dickinson joins Bonnet on the explosive “The Fifth Force Of Nature”, bringing together two of the most distinctive voices in hard rock and heavy metal for a remarkable collaboration. Dickinson also appears alongside Graham in the song’s official music video, making this meeting of two legendary vocalists even more special.

The album also sees Graham reunite with his former RAINBOW bandmate and longtime friend Roger Glover for the first time since the band’s landmark 1979 album “Down To Earth”, which Glover produced. Glover’s distinctive bass playing adds another dimension to “Wait For The Day To Break”, bringing together two musicians whose collaboration helped shape a significant chapter in hard rock history.
Kai Hansen, the legendary guitarist and vocalist known for his work with HELLOWEEN and GAMMA RAY, also makes a guest appearance on “The Captain”. Another iconic musician has contributed to the album, with further details set to be announced at a later date.
Another interesting connection links “Circuit Breaker” to one of the most important records in Bonnet’s career. Russ Ballard, the songwriter behind RAINBOW’s classic “Since You Been Gone” from 1979’s “Down To Earth”, has contributed songs to the new album. More than four decades later, this collaboration reunites Bonnet with a key figure from his past, creating a direct link between one of the defining periods of his career and his current musical journey.

However, “Circuit Breaker” is much more than a trip down memory lane. From the instant impact of “No One Is Talking” and “Feel The Power” to the melodic drive of “Landslide”, the intensity of “Vengeance Is Mine” and the commanding title track, the album delivers the perfect blend of melody, power and personality that has always made Graham Bonnet stand out.

“Circuit Breaker” track listing:

01. No One Is Talking
02. Feel The Power
03. The Captain (feat. Kai Hansen)
04. Landslide
05. The Fifth Force Of Nature (feat. Bruce Dickinson)
06. Wait For The Day To Break (feat. Roger Glover)
07. Flame And Fire
08. No One Sang For Rory
09. Vengeance Is Mine
10. Circuit Breaker
11. Till The End

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TRIVIUM have released the title track from their upcoming album, “Crown In The Grave”. The song gradually builds through layers of riffs before erupting into a powerful wall of metal, combining crushing heaviness with the precision, melody and technical intensity that have characterized the band for more than 20 years. “Crown In The Grave” delivers classic TRIVIUM elements, from galloping riffs and fiery guitar solos to hard-hitting drums and multi-layered vocals. At the same time, the track expands on the band’s established identity, staying true to their signature sound while pushing it into new and unexplored sonic territory.

The accompanying post-apocalyptic music video, inspired by Japanese Noh theater, brings the album’s artwork and themes to life inside a smoke-filled dojo, where the central characters prepare for an approaching confrontation through a series of tense and atmospheric scenes. Reflecting the band’s longstanding fascination with traditional Japanese theater and martial arts, the video emphasizes the discipline, drama and physical intensity that shape the song’s narrative.

“‘Crown In The Grave’ is our eleventh record, and when you get this far into a career, it’s easy to rest on what you’ve already done — or to reinvent yourself just for the sake of it,” says Gregoletto. “With this record, we wanted to find the space between those two things: Take everything we’ve learned and everything that makes TRIVIUM what it is, but present it in ways we hadn’t before.”

He continues: “We also wanted the record to exist within its own world. That began with the title track, inspired by Akira Kurosawa’s ‘Throne Of Blood’, and led us deeper into Japanese horror and cinema from the ’50s, ’60s, and ’70s. That influence grew into this darker, ghostly atmosphere that became a set of guardrails for the music, lyrics, artwork, and overall identity of the record”.

The bassist finishes: “We built our studio so we could give ourselves the time and space to figure out exactly what an eleventh TRIVIUM record should be, and ‘Crown In The Grave’ is the answer we arrived at. It honors where we’ve been without living in the past, and pushes into new territory without abandoning what makes us TRIVIUM. I think when you hear it, it’ll somehow feel both new and like a return”.

“Crown In The Grave” track listing:

01. Jorōgumo
02. Crown In The Grave
03. Dead Inside Of Me
04. The Terror
05. The Haunting Never Ends
06. Lie Of It All
07. Blackout The Dawn
08. Paradise Of Sinners
09. Death Throes
10. The Agony
11. Devour Your Dreams
12. Serpent In The Flame

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Recorded largely live with longtime producer Michael “Elvis” Baskette at Studio Barbarosa in Florida, the 12-track album captures the band at their most direct, instinctive, and tightly connected. The lineup features Slash on guitar and pedal steel, Myles Kennedy on vocals, Todd Kerns on bass, Brent Fitz on drums, and Frank Sidoris on rhythm guitar. Most of the album was completed in around a week, with the band frequently recording two songs per day while performing together in the same room, preserving the raw energy and chemistry of their live performances.

“It’s a really fun, kind of spontaneous rock ‘n’ roll record,” says Slash. “It’s very straightforward and down-to-earth and raw”.

“Flying Blind” is out today on all major digital platforms. Listen to the new track and watch its official music video below. Filmed on location at The Viper Room in Los Angeles, the video was directed by John Harvatine IV.

“Flying Blind” came together spontaneously during the album’s pre-production, when Slash brought a new riff into the rehearsal room. The track quickly took shape as the band worked on it together, blending SMKC’s trademark hard-rock energy with a soaring melody and an instantly memorable hook. Its natural impact made it the perfect song to kick off the new album.

Slash explains: “Created in the studio while we were standing there in pre-production, a riff came to me and started developing. I had nothing of that song prior to those guys coming in, and then we started up a night of rehearsal and played that riff. It came together really quickly. As for it being the first single, you never know what the first single is going to be until you’ve recorded it. When I started thinking about it, ‘Flying Blind’ just seemed to have the right kind of melodic sensibilities and a hook to make it single material.”

According to Myles Kennedy, the title track explores the shortcuts people sometimes take in their pursuit of fulfillment.

“I really enjoyed putting a melody to this song,” Kennedy adds. “The way the chord progression starts in the beginning had a nice flow to it. The lyric is about how sometimes people try to take shortcuts and try to find the easy way to achieve happiness or enlightenment”.

‘Flying Blind” track listing

01. Avarice And Greed
02. Good Time Girl
03. Thrill Seeker
04. One Of Your Kind
05. Flying Blind
06. Looking For A Miracle
07. Sweet Kill
08. Here In Babylon
09. Living The Dream
10. (Don’t) Thread The Needle
11. Rev My Heart
12. Stem The Flow

SMKC have also announced their “Flying Blind” World Tour 2027, an extensive international tour that will kick off in Latin America in April before heading to North America on April 23 and then continuing across the United Kingdom and Europe (Athens, Greece is included).

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Now, SUNN O))) return with their first album of entirely new material since 2019’s acclaimed “Pyroclasts”. Their tenth studio album, set for release on Friday, April 3 via Sub Pop, showcases the duo’s command of time and space, light and shadow, and their ongoing drive to expand and evolve their signature sound into daring new territory.

The self-titled album “Sunn O)))” was recorded at Bear Creek Studios in Woodinville, Washington, with Brad Wood (HUM, TAR, Sunny Day Real Estate, Liz Phair) behind the controls — a setting that would ultimately play a vital role in shaping the recording process.

“The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

“It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out”.

SUNN O))) have always embraced collaboration within their tightly sealed universe, working over the years with respected kindred spirits such as Hungarian vocal innovator Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, SILKWORM co-founder Tim Midyett, and the legendary Scott Walker. For the new album, however, O’Malley and Anderson turn inward, exploring the raw, still-powerful primal space of the duo format.

“On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing”.

Recording strictly as a duo shouldn’t be seen as SUNN O))) holding themselves back or imposing limitations. On the contrary, it has unlocked new creative possibilities for their sound.

“What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well”.

The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory — until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest.

“It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever.

That’s what makes playing in this group, at least for me, different and unique and special.”

“Sunn O)))” track listing:

01. XXANN
02. Does Anyone Hear Like Venom?
03. Butch’s Guns
04. Mindrolling
05. Everett Moses
06. Glory Black

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“We’re definitely leaning into our early influences,” Keenan shares. “It’s the place where goth meets punk. It’s where I came from.”

The band offers a first taste of the 11-track album with the release of “Self Evident” and its accompanying video, filmed during a special August performance at Exchange L.A., where PUSCIFER debuted the entire record before an intimate audience of fans.

Written and recorded across Arizona, Los Angeles, and on the road during last year’s “Sessanta” tour, Normal Isn’t fuses PUSCIFER’s signature dark electronics and biting humor with a more spontaneous and free-flowing creative approach: “From the outset, we had discussed an element of rawness and edge, which guitar brings,” shares Mitchell, who co-produced the album. “We got rid of the guard rails and made the music more aggressive.”

Contributors to the new album include Greg Edwards on bass, Gunnar Olsen and Sarah Jones on drums, with special guest appearances by Tony Levin (bass on “Normal Isn’t” and “Seven One”), Danny Carey (drums on “Seven One”), and Mr. Ian Ross—father of Atticus Ross—who provides narration on “Seven One”.

“Normal Isn’t” is now available for pre-order and pre-save, with several limited-edition vinyl variants to choose from: standard black, indie retail orange swirl, a Puscifer.com exclusive black ice and clear with black splatter, and a Queen B Vinyl Café exclusive fruit punch in tan with black and white splatter. The album will also be released on CD, cassette, and digital formats.

Track listing:

01. Thrust
02. Normal Isn’t
03. Bad Wolf
04. Self Evident
05. Public Stoning
06. The Quiet Parts
07. Mantastic
08. Pendulum
09. ImpetuoUs
10. Seven One
11. The Algorithm (Sessanta Live Mix)

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The first video from “Outerstellar”, for the track “Rockin’ Horse”, directed by Leigh Brooks, is out now and available to watch below.

“‘Rockin’ Horse’ is a cool, rockin’ song that we made a great fun video for with the fantastic director Leigh Brooks,” says Monroe. “We got into different characters on the so-called ‘Waking Up With Michael Monroe’ TV morning show with me as the host. And it’s the first time ever you can see me without makeup (!). Great fun and good times. Hope you enjoy it!”.

To promote “Outerstellar”, Michael Monroe and his band will hit the road for a U.K. co-headlining tour with BUCKCHERRY, set to kick off in Southampton on February 24, 2026.

Track listing:

01. Rockin’ Horse
02. Shinola
03. Black Cadillac
04. When the Apocalypse Comes
05. Painless
06. Newtro Bombs
07. Disconnected
08. Precious
09. Pushin’ Me Back
10. Glitter & Dust
11. Rode To Ruin
12. One More Sunrise

Michael Monroe’s band boasts an all-star lineup featuring longtime collaborator and former HANOI ROCKS and NEW YORK DOLLS bassist Sami Yaffa, who has been playing alongside Monroe since the ’80s. Handling guitar duties are Rich Jones (formerly of The Ginger Wildheart Band) and Steve Conte, best known for stepping into Johnny Thunders’ role in the NEW YORK DOLLS and for his work with artists like Suzi Quatro, Eric Burdon, and many others. Behind the kit is Karl Rockfist, a powerhouse drummer who has performed with several high-profile acts, including DANZIG.

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Accompanying the announcement, COHEED AND CAMBRIA unveiled their latest single, “Searching For Tomorrow”, alongside an animated video directed by Anthony Scheppard. The upcoming album will also feature the previously released track “Blind Side Sonny”, hailed as one of the band’s most aggressive songs to date. Its accompanying video, directed by Max Moore, introduced a compelling new villain to The Amory Wars saga.

Speaking about “Searching For Tomorrow” and “The Father Of Make Believe”, COHEED AND CAMBRIA bandleader, vocalist and lead guitarist Caludio Sanchez shares: “This song is a reminder that always looking for something better in your life robs you of being able to appreciate the good things you already have. With every album I try to ‘outdo’ the one before, or at least make something that sounds different and evolved in some way. I think that initial struggle added to the feeling of having a kind of musical midlife crisis…this constant internal battle of searching for creative release and growth…the being unsure if it’s the right path. This one took more effort in the beginning, but in the end I think the digging was worth it for the subsequent surge”.

Track listing:

01. Yesterday Lost
02. Goodbye, Sunshine
03. Searching For Tomorrow
04. The Father of Make Believe
05. Meri of Mercy
06. Blind Side Sonny
07. Play The Poet
08. One Last Miracle
09. Corner My Confidence
10. Someone Who Can
11. The Continuum I: Welcome to Forever, Mr. Nobody
12. The Continuum II: The Flood
13. The Continuum III: Tethered Together
14. The Continuum IV: So It Goes

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